^^ AMES' Series of 

f ^T^NDARD AND MINOR DRAMA, 



P S 

o35 



.>o 7a. 






_5V 3" 



AT LAST, 

,^ TEMPER.-iXCE PIA Y 
IIN THREE ACTS, 

Q. S. Vautrot^ 



WlTHCAf^T OF CHARACTERS. ENTRANCES ASDEXITS^ RBLA 
FOaJTJONS OF THKPF]tFORMKRS(»S THESTAiiE DS- 
SCRIPT/ON OF COSTiMK, AND THE WHOLE OP 
THE ST A GE Bl \SiyFSS, AS PERFORM" 
JiDAT THE PRjyriPAL AMER- 
ICAN ANV ENaUSU 
TUEATREH. 




TIVM 



('IA1>K, OHIO. 



5j a. 1) AMES, PI:HLISHEU, «g 




Class _P_5_ii3_£ 
Book.Z3--V3^ 
GoipghtN" 



COPYRIGHT DEPOStr. 



AT LAST. 

A Tcmperancs Drama, 

IN THREE ACTS, 



■BY- 



Cso. 2. Yautrot, Esq[. 



AUTHOR OP 



The False Friend, Nigger V3 Yankee, etc.. 



to which is added 
description of Costume, Characters, Entrances and Exits, and the whole 
of the Stage business. Correctly printed from the Auth- 
thor's approved Copy. 



rJo,.lkkllU 



Entered according to Act of Congress in the year 1879, by 

A. D. AMES, 
In the office of the Librarian of Congress, at Washington. 



•o.^^.o 



CLYDE, O: 

A. D. AMES. PUBLISHER. 



AT LAST. 






CHARACTERS. 



Frank Montgomery A wealthy young farmer. 

Charles Scranton A gambler. 

Bill Morgan his Confederate. 

Moses colored servant of Montgomery's. 

Thomas Wren A detectiye. 

Eli Perkins An old fashioned man. 

Hans Christopher keeper of the "Grape Vine." 

Ruth Montgomery Frank's wife, and daughter of Eli Perkins. 



TIME — Soon after the war of the rebellion. 



Costume, Modern, to suit station and character, except Moses. His first 
dress to be very ragged, dirty etc., with a large sack tja'rown over hia 
shoulder, his make-up, that of a street rag-picker. Second dress, neat. 



SCENE— Mobile, Alabama. 



TMP92-007454 



TIME OF PERFORMANCE— one hour and thirty minutes. 



AT LAST. 



ACT I. 

SCENE FIRST— i?03/aZ .Hrcet— first grooves— the si^ "Grape Vine" vrom- 
inent— enter Scranton, h., whistling, and toying with his watch chain, in a care- 
less manner at c— looks doivn the street— whistles very loud— whistle is an- 
swered — liahts a cigar, as he does so Morgan enters h., smoking. 

Scran. Ilowd'y do, Bill, feeling well this morning? 

Mor. (yawns) Why. yes, I believe I do. 

Scran. Havn't seen any thing of Wren, have you ? 

Mor. Xo, that is not since last night. 

Scran. Wish I could see him. 

Mor. If I see him, I'll make it a point to tell him that you wish to see 

Scran. I'd be much obliged to you, Bill, if you would. 
Mor. Do you wish to see him particularly ? 
Scran. Ko. 

Mor. If you did, why, I would say that you would not have loDff to 
wait, for as the old saying is, "speak of the devil and — " 

Enter Wren, k. 

Wren. Good morning, gentlemen. 

Scran, f /- , 

Mor. I ?°^^^ morning. 

Wren. Eathcr cool this morning. 
Mor. Yes, rather chilly. 

Wren. Let's have a drink. 

Scran. Just what I was about to propose. 

Mor. I'm agreeable. 

Wren. Come on then. {exeunt R.-scene changes to 



SCENE SECOND— 77i/'cr/or of the Grape Vine— table with four chairs 
around it, v:.— ditto, h.—Mans behind counter, R., wiping glasses and smokina 
a huge pipe. ^ 

Hans. I\Iine gootnsss alive, what ish der matter m>t der fellers in dis 
town, an^'how ? I vash coomed here tinkin' I vas makes my fortune und 1 
don't make so much as my meat. Dey vas told me, dem rebs vas' drink 
like a camel ; but I don't can see why dey vas say so. Dey don't coom here 
1 vonder vats der matter ? ' 

Eater Scranton, Morgan and Wren, r. 
How you vas, shcntlemen. {flies around smartly) Yat can I do for der shent- 
lenaens dis morning. {Scranton and party seat themselves at table, r. 

Mor. Here old lager-head, bring us a bottle of wine, and be quick about 
it, I'm as dry as — 

Hans. Now you big fools, look here, I yoost tola you dat my name ish 
not lauger-head ; but Hans Christopher. 

Mor. Why, you infer — 

Hans. Und if you vas call me cud from my name, I vas yoost throw you 
der sidewalk oud. -^ 



4 AT LAST. 

Mor. You infernal saur-kraut eating dutch hog, I'll squeeze the life out 
of you, if 

Scran, {lays hand on Morgan's arm) Oh, come, Bill, dry up. "What's the 
use of raising a row with dutchy, when we've business on hand ? 

Wren. Yes, that's what I say. It wouldn't be much of an honor to ,put 
a head on dutchy. {winks at Sans 

Hans. Veil, ven you vas got ready to put vun head on me, got yerself 
ready at der same dime to tote a gouble of heads, yourself. 

Wren. Hush wp, Hane, he didn't mean to insult you. 

Sans. If dot ish so, it's aU right. 

Scran. Well, where is the bottle of wine? 

Sans. In vun minute, shentlemens. {takes bottle of xoine from shelf — 
takes tray loith wine and glasses to party) If yer wants anything else shen- 
tlemens, yoost call, und if 1 vas haf it, you shall haf it. {goes behind count- 
er — wipes glasses — vjatches party as though afraid they were trying to beat him) 

Mor. {filing glasses) Well boys, I hope this wine is as good as it looks. 

Scran. It is good. I've been here before. 

Wren. So have I. 

Mor. {raises glass) Here's luck to everything that either of ua three 
undertake, {all drink — shouts of ^'stumps, stumps," outside) Here dutchy, 
how much ? 

Hans. Ein dollyer und a half. 

Mor, Here's your }iioney. {Hans takes money — shouts repeated 

Sans. Vot ish dem noises out door for ?• 

Scran. Oh, nothing, only a nigger rag picker, that the news-boys are in 
the habit ot hollowing at. 

Mor. Well, boys, let's be going. 

Wren. We'll call again, dutchy. 

Hans. I vill be most happy to see you shentlemans. {make motions as 
if bidding him good-bye — exeunt r, — scene changes to) 



SCENE THIRD — Sa7ne as scene first — shouts of "stumps, stumps" and 
laughter, outside — enter Moses e., m fii'st dress. 

Moses. You're good for nuffin, low down white rebel trash. Yer ain't 
good for nuffiin, but ter holler at 'spectable gemmen in de street. Don't 
spec yer knows I'm a duke, in disguise, jest a gwine 'round de world. 

{shakes stick off xoing, r. — shouts repeated — starts after the?n — stops — picks 
up piece of paper — shouts repeated from time to time — muttering to himself — is 
angry — pulls of coat, and places it on sack) 

I ain't a gwine to stan' dis foolishness no longer, I ain't. I'm a gwine ter 

kotch on-e ob dem boys, i is, an' when I does kotch him, why {spits on 

hand — shakes stick — exit r. 

Snter boy, l. — hides coat and sack, l. 3 e, — exit l. — enter Moses, r. 

Dem hoys kin run de fastest ob any boys I eber did see. 'Tain't no use ; 
rini as fast as yer kin, ye can't kotch 'em. Wonder wot time is it. I done 
brung my watch down to de foundry, to get a wheel made, an' dey 

ain't got it done yet, so I'll hab ter {misses things— excitedly) Whar 

datcoat? Whar dat sack? {prancing around furioususly) . Show me de 
man wot stole dat coat — de best coat I ebber had. I'll bust his snoot; I will. 
{cries) If anybody'll show me whar dat coat is I'll give 'Cm five cents. I 
knows w'at I'll do. I'll go an' git a p'liceman. Dem de fellers w'at'll fetch 
em. {exit l. — scene changes to 



AT LAST. 5 

SCENE FOURTH-ParZor at Battle House, elegantly fur nishedScr anion 
sitting at fireplace, l., reading a paper, looks at watch. 

Scran. Wonder, what in the name of goodness, keeps 3Ir. Mont^'omery 
It 13 now over five minutes since I sent my card to him. So he is the one 
whom my pretty little Ruth prefered to myself. Wonder if she will recog- 
nize me now. If she does, my little game will be checked: but I mutt 
trust to luck and Bill Morgan. 

Enter Frank Montgomery, c. 

Frank, {advances and shakes hands with Scrantott) ■ Glad to see you, old 
fellow, am sorry that I kept you waiting so long, but my wife, she 

Scran. Oh yes, 1 understand, a young wife on her honeymoon trip 
doesn't like to have her husband out of her sight, eh, old boy ? 

Frank. Well, no, not exactly that; but this is the first time she has ever 
been to a city, and it is the first time 1 ever was in Mobile, myself, so you 
see she is naturally nervous. 

Scran. By the way, Frank, I would like very much to become acquaint- 
ed with your wife. 

Frank. And you shall, my dear fellow, at the first oportunity ; but how 
did you know I was stopping here? 

Scran. Oh, the papers told me that. 

Frank. True, I had forgotten. 

^cran. Don't drink, do you? 

Frank. Very seldom, thank you. 

Scran. Home other time, the"n. 

J<rank. I tell you what, Charlie, I'd like to take a look around the city. 
Are there any sights to be seen ? 

iScran. {aside) The very thing, {aloud) Well, I should think there 
were ! 

Frank. When will you be at leisure ? 

Scran. I will initiate you to-night, it you say so. 

Frank. T^et it be to-night, then. Where will I meet you ? 

Scran. Any place yuu like 

Frank. Say the post office. 

Scran. All right, so good dav, old fellow, and I promi?»e von lots of fun 
to-night. (^./m/te hands— exit L. 

Enter Ruth, c. — sees Scranton — stares at him — pause — music. 

Luih. who is that man, Frank? 

Frank, (starts at the sound of her voice) Why, Ruth, darling, is it you ? 
Whaft was it you said. 

Huth. I asked who that man was. 

Frank. His name is Charles Scranton. Why do you ask ? 

liuth. I thought [ reco^nize.l hiin. 

Frank. It must have been a resemblai'C^ to some one. 

Buth. Perhaps it was. {loud and r.ohfuscd noise outside — they look out oj 
window and laugh) 1 declare, that's the funniest' I ever saw. 

Frank. Well, he is a character, {rolls) Here boy. ^.'</i(ike.'i head— points 
— nods head) We'll have him uj) here '.>resenily. 

Ruth. Dear nie, how com ival. 

Frank. Jt was, and as 1 aui in need of a serviint, what do vou say to 
hiring him ? 

Ruth. If you think him capable sind trustwor:hy, why suit yourself. 

Enter 2Io.se l. cautiously — looks at room i7i amuzcment, 
Mose. Great land ob Sodom ! 



6 AT LAST. 

Frank. Here, boy. { Moses starts to run) Come here. 

Mose. I wa'n't doin' nuffin, Boss. 

Jtuth. Don't be frightened — we won't hurt you. * 

Mose. Missis, I declare ter goodness, my bref like ter left my body. 

Muth. How was that ? 

Mose.. I neber, in all my borned days seed de likes ob dis room. Is you 
de queen ob England? 

JRuih. No — what makes you ask ? ' 

Mose. Kase I — kase yer — kase der Oh, lordy! {starts to run 

Frankt Come back. What is your name ? 

Mose. I'm de chil wot were found in de rushes. 

Frank. Ha, ha ha ! Gfeod ! Well, what made you turn black? 

Mose. Well, yer see, boss, while I was a lying dar, a bull rushed at me, 
flipped me ober in de mud, de mud dried outer me, an^ it neber corned off, 
see? 

Frank. Yes, how would you like to be my servant? 

31ose. Wat, wait on yer an' der young missus dar? 

Muth. Yes, Moses, my husband is in need of a servant. 

Mose. I'm de huckleberry fer yer pie. 

Frank. All right, come with me and I will see if we can't get you some 
better clothes. 

3fo.se. Dese here is good enough, boss, I've been wearin' 'em for four 
years, and dey ain't worn out yit. 

jRuth. Go with Frank, Moses, and do as he says. 

Mose. All right, missis, I's agreeable. 

Frank. Come on then, as I wish to get back in time for dinner. 

Mose. {aside, rubbing his stomach) Dinner — dat's de time o' day I likes 
to hear 'em talk about. 

Frank. Good bye, darling. I'll be back presently. 

Jiuth. Good bye, Frank. 

Mose. Good bye, missus. I'll take good care ob him. 

{exit Frank and Mose, c. 

Ruth. I feel — I know — but can it be possible ? If it really is Lieutenant 
Harry Forbes, whom I refused during the war, on account of his being a 
gambler and a drunkard — if it really is him under the assumed name of 
Scranton, whom I saw speaking to my husband in J,his room, he is medita- 
ting harm to Frank, for he swore vengeance against me and mine. I'll 
watch him as a cat does a mouse. {exit, €. — scene closes 



SCENE YIYTR— Dauphin street.— 2d grooves. 

Enter Frank ayid Mose, B. 

Frank. Well, I think we oan get what we want in that store yonder. 

Mose. Any whar you say, boss. 

Frank. Come on then. {they enter one of the stores L. — as they go in 

Enter Wrev, r. 

Wren. It seem«( to me that everything ain't square about that fellow 
Scranton and his pard. I'll watch 'em however, ana if they kick up any 
of their didos, I'll jug 'em. {goes up stage 

Enter Scrayitoji and Morgan, l. 1 B. 

Mor. Which way did he go ? 

Scran. He went into that store. (points L. 

Mor. We will wait until he comes out. You say you know him well? 
Scran. Yes. 



AT LAST. |i'. 

Mor. Then he'3 our meat— but how about hia wife ? 

Scran. Leave her to me ; I don't think she recognizea me. 

Mor. Then the game is safe ? 

Scran. Yes, if that infernal detect « 

Mor. Hu-3-h, there he is now. {seeing him 

Scran, {sees Wren who is slowly coming down c.) I'll cook his goose if he 
interferes. 

Mor. Good enough. {Wren vmlks slowly forward, head bowed as if in 
deep thought) I say Wren, you don't seem to know your friends. 

Wren. {looking up) Ah, good morning gentlemen. {aside) I hope I 
shall be forgiven for that. '< 

Scran. We were just speaking of you. 
Wren. Saying anything good about me ? 

Mor. "Why, of course we were. 

Wren. Then I won't demand satisfaction. {all laugh 

Scran. Pistols and coffee for six. 

Wren. Meet me by moonlight alone. 

Mor. "Wait till the clock strikes nine. 

Scran. That'll do boys. {signs to Morgan 

Mor. Have something, "Wren ? 

Wre7i. Don't care it I do. 

Mor. {to Scranton) Ta, ta, old boy — see you to-night. 

Scran. All right. {Morgan and Wren lock arms and exit i. .) I don't 
half li'ice the way that detective hangs around — but tiien if he's in any way 
troublesome, why over he goes. Halloa — just look. 

Enter Frank and Mose from the store, h. Mose has on new clothes. 

Scran, (l.) He must have hired that nigger for a servant — must get oa 
the right side of him. (l. c. — to Frank) How are you Frank ? 

Frank, (r. c.) "Why, Charlie, how goes it? 

Scran. Been hiring a new servant ? 

Frank. Yes. "What do you think of him ? 

Scran. I think he's a likely Ipd, and bound to suit you. 

Mose. {aside) I knov/s yer, ole hoss — can't soft soap dis nigger. 

Scran. Which way, Frank? 

Frank. Back to the hotel for dinner. 

Scran. All right. I'll see you again. 

Frank. Yes, I'll not forget. {exit Scranton L. 

Mose. (b. c.) Look heah, Marse Frank, dat's de worstest kind ob a man, 
he is. 

Frank. Hush up. Don't let me ever hear you say a word against any 
of my friends again. 

Mose. {aside) You'll find out before you's done wid him dat he's de 
worstest frien' dat you eber had. 

Frank. Come on — we'll be going, {they start off •&. Mose struts about 
behind his master. As they exit, scene changes to 



SCENE SIXTH. — Royal street, first groovs. — Frank enters r., stands by a 
lamp-poast. 

Frank. I wonder how long I'll have to wait — I hope not long, for I do 
detest waiting lor any one. 

Filter Scranton and Morgan, L. 

Scran. Hallo, Frank, at your post I see. 

Frank. Yes. 

Mor. Been waiting long ? 

Frank. No. 



1 8 AT LAST. 

Scran. Come on, let's be traveling. 

Frank. All right. {thty exit L. 

Enter Wren, r. 

Wren. I must watch those two chaps, that young fellow will fall an 

easy victim to them I fear. I think I know the lay they are on, so here 

goes. {follows them off 1j. 



SCENE SEVENTH. — Same as scene fourth. — Ruth is discovered sitting on 
sofa, E. 

Ruth. Oh, dear ! but three weeks married, and he can leave me here 
alone, and at night. He said that he had an engagement with Mr. Scran- 
ton — Mr. Scranton — [she shudders) oh, what a dread, that man's face brings 
to my heart — I saw him as he passed this afternoon — He looks like Harry 
Forbes — it must be — yes, it is him, and he meditates harm to Frank — What 
can I do ? — I have it. {rings hell. 

Enter Mose, c. 

Mose. (c.) Here I is Missus. Kin I do anything fer ye ? 

Ruth. Moses, did you see your master leave in company with another 
gentleman ? 

Mose. Yes'm I did, an' I seed 'em takin' a drink down stairs. 

Ruth, {aside) This confirms my suspicions — Frank cannot stand much 
liquor, {aloud) Moses, do you follow them — mind I do not wish you to 
play the spy; I would scorn the action, but I am afraid that some harm is 
meditated to your master, from that man. Here, go — go ! 

{gives him money* 

Mose. {takes money, pid^ it in his pocket — clenches his^fist — raises his hand 
up very slowly — looks straight at Ruth) Gwine ter hurt Massa Frank, is he — 
ef he tephes "Massa Frank, I jest double myself up an' I'll butt him, an' ef 
he don't gin up de ghost, yer kin kick me round fer a foot ball. Hi, golly, 
I jess want ter see 'em hurt massa Frank, I does. {exit c. quickly. 

Ruth. Oh, dear me, I wish that I had never induced Frank to come to 
the city ; it was all on my account that he came ; but now that we are 
here — Oh, I hope Frank will not get into trouble, because if he does, I 

don't know what I would {a pistol shot is iired outside — 'Riith runs to 

sofa, throws herself on it, hides her face in her hands — and scene closes.) 



SCENE EIGHTH. — Same as scene first. — Frank, Scranton and Morgan en- 
ter L. Frank seems to be slightly intoxicated. 

Frank. I say boys, where'H we go now ? 

Scran. Let's go and play keno. 

Mor. No, let's get another drink. 

Frank. All right, let's go over to the Grape Vine — eh? 

Scran. Come on then. {they exit E. 

Enter Mose l. 

Mose. I knowed it, I knowed it — dey'se done got massa Frank toxicated, 
and now dey'se gwine ter mu'der and den rob him. But dey shan't do it 
— shan't do it, not when dis nigger's round. 

Me hitches up his pants, buttons up his coat very determinedly, takes a 
chew of tobacco and follows the party — as 'he goes off Wren crosses behind 
Mm — a pistol shot is heard, L. — the whole party rush in e. Frank in the 
lead, he is very drunk. 



AT LAST. t 

Frank. Where's the — hie — row? What's the^hic — matter, eh? 

Mose. {goes up to Frank) Come along wid me massa Frank, and go 
home. 

Frank. Go to the — hie — devil. 

Mose. You'se wid de debbil's brudder now. 

Ssran. What's that you say ? you black imp of satan. 

{starts toioards him. 

Mose. Come on, and I'll bet yer a free eent stamp you'll git hurt. 

Mar. {ca.tclfts hold of Scranton) Hold on Charley. 

Hcran. Oh, I'm right here ! 

3/b.sc. You won't be dar long, ef yer fool wid dis chap. 

Wren. You had better go home with your servant, Mr. Montgomery. 

Frank. You — hie — think so — hie — eh? 

Wren. Yes I think so. 

Frank. Come on — hie — Mose, this — hie — gemmen — hie — thinks I'd — hie 
— besser go — hie — home. 

Mose. Come on den boss. ^^ 

{he catches Frank by the arm and leads him off L., the others follow. 



SCENE NINTH.— j5a«Ze house, parlors as before, Ruth sitting at table 
xoith book in her hand — lamp on table — distant clock strikes two — Ruth starts, 
looks nervously around, shuts up book, is very agitated. 

Ruth. Two o'clock, and not returned yet — I cannot sleep— Oh, where ia 
my husband ? — How can he stay awaj^rom me? and in that man's compa- 
ny. But he does not know him — no, no, no — Frank is too noble, too gen- 
erous to suspect anyone — ah, what was that? {Frank in a loud and un- 
steady voice singing, "We won't go home till morning.") It is as I feared j 
Frank has returned, and he i9 intoxicated. 

{rises, looks towards door with her hands clasped — soft music. 

Enter Frank supported by Mose, l. 

Frank. Hallo, ole — hie — girl, ain't gone to— hie — bed yet ? — hie — didn't 
I tell you not to sit up for — hie — me — hie — eh? {Mose tries to drag him 
out) Hoi' on — hie — Mose, I — hie — know what I — hie — am about, don't I 
ole — hie — gal ? 

Ruth. Oh, Frank, Frank ! {throws herself on sofa and sobs violently . 

Mose. Come, Massa Frank, come, go to bed. 

Frank, {loud and boistrously) 1 — hie — won't do — hie — it, I'm — hie — 
hanged if I — hie— do. 

Ruth, {rises from sofa, goes up to Frank, puts her arms around his neck) 
I*lease don't make such a noise, Frank you'll wake up all the people. 
' • Frank. Who the — hie — devil cares if I — hie — do, eh ? 

Ruth. I do, Frank. 

Rrank. {furiously) You— hie— do eh? Then take that! {pushes her 
violently — she reels and falls on the sofa — Frank is sobered instantly — starts 
towardB her.) 

QUICK CURTAIN. 



10 AT LAST. 

ACT II. 

SCENE riR3T. — Scranton*s rooms, nice l>/ furnished — table in center, de- 
canter on it; also glasses and several packs of cards — Sfcranton discovered 
seated r., Morgan l., both are smoking cigars — Scranton fills Morgan's glass. 

Scran. Here's luck old pard. {thei^ drink) If it hadn't been for that in- 
fernal nigger, we would have had everything to suit ourselves. 

Mor. Yes, curse him, and I would have been better oflf by three or four 
hundred dollars. 

Scran. If I thought — well, never mind, we'll fix him yet. 

Mor. How do you propose to work ? 

Scran. I intend to get him on another spree ; after he is rather full, in- 
vite him up here, propose a game of cards — and of course you know the 

Mor. Of course I do. But I am afraid it will be hard to manage thia 
detective. 

Scran. Oh, no ! I'lnfix him. 

Mor. How ? 

Scran. Get him to drink, and then drug him. 

Mor. Won't that be dangerous? 

Scran. Not in the least. 

Mor. Perhaps he will not be around. 

Scran. So much the bettor. 

Mor. How soon do you intend to put your plan into operation? 

Scran. At the very 'first opportunity. 

Mor. Then I'll keep on the wat^^. 

Scran. I wish you would, for there is no telling at what moment I'll 
want your assistance. 

Mor. All right, old pard ; count me there every time. 

Scran. Well, I must go down town, as I have some business to attend to. 

Mor. Think I'll vamose the ranch too. 

Scran. All right, we'll go together. 

Mor. Just as yoa say. 

Scran. Have another drink before you go ? 

Mor. Sling her out. 

[Scranton fills glasses, they clink, then drink, and exit L. — scene closes. 



SCENE SECOND. — Royal street as before. 

Enter Mose, l., smoking, hs looks very dandified. 

Mose. Jess tink, here I is, got good close, good chuck, good place ter 
stay, bully young boss, an' de sweetest kind ob a young missis ; an' not 
long ago I neber had nowhar ter sleej), uuffin ter eat, an' no money. Hi, 
golly ! beliebe I'll go down ter de lair teruight au' make er mash. Oh, go 
'long Lizer Jane ! 

Enter Wren, L. 

Howdy do, Massa Wren I 

W7'e7i. Frigates, Mose. 

Mose. Dey ain't no free gates 'round here, massa Wren. 

W7'ev, Then come over and have a free lunch. 

Mose. I'm yer persimmon, boss. 

Wren. See here Mose, you haven't seen anything of those two fellows 
who were with your master the other night, have you? 

Mose. No sah, I has not, an' I'm gwine ter keep my eye peeled fer 'em, 
yer kin bet yer socks. 

Wren. Watch them close, and mind your eye. 



AT LAST. 11 

Mose. Dis nigger wan't. raised in de gutter fer nuffin, he wasn't. 

Wren. How did Mr. Montgomery get over his spree ? 

Mose. He's de sickest man you eber did see. 

Wren. What! he isn't sick yet? 

Mose. Yes sah 1 he's got ae distemper. 

Wren. What? 

Mose. Dey's sun fin de matter wid his head. 

Wren. So long ? Mose, I must be going. 

Mose. ^o long, massa Wren, {exit Wren, r.) wonder whar dat free 
lunch is — spec it's ober dar yet. Hi. golly ! de young missus gib me ten 
dollars ter buy a pistil wid, an' here it am. {takes a small pistol from his 
pocket, looks at it admirmgly, cocks it and is unable to put the hammer down) 
How de debbil's I gwine ter git dis here ting down? {tries again, and in 
doing so discharges the pistol— falls to floor, screaming) I'm dead, I'm dead. 
Bend for de doctor, send for everybody ! 

Enter Wren, R. — runs up to Mose and shakes him. 

Oh ! I'm dead, I'm dead 1 I sees de angels coming arter me, I does ! 

( Wren catches him by the collar and puts him on his feet. 

Wren. Here, you're jiot hurt at all. 

Mose. Yes I is, massa Wren, de bullet went clar frough my skull. I 
seed all de littlo stars, and comets, and all dem tings. 

Wren. Where did it hit you ? 

Mose. Right here boss. 

{puts his hand on forehead — Wren looks and takes the bullet off. 

Wren. Here's the bullet, mashea as flat as a pancake. 

Mose. {looks bewildered) Hanged if eber I thought dis nigger's head 
was 60 tough, {takes bullet) I'm gwine ter wear dat on my watch chain- 
Look here, massa Wren, I ain't no free lunch stricken, 1 ain't. 

Wren, {aside) Loud hint, very, {aloud) Cume on Mose. 

Mose. {aside) Thought dat would fetch him. [they exit L. 



SCENE THIRD.— J5a«^e hou.-se parlor as before— Ruth sitting by fireplace, 

Ruth. Oh, my poor husband, I fear he is in terrible peril, for let strong 
drink once master a man of his impulsive nature, it is hard to drive the 
demon away. And I, a poor weaK woman, what can I do? Oh ! would to 
heaven that we had never come to this accursed city. But it was my wish, 
and Frank has never denied me anything. I must have a confidant j my 
husband must, and shall be saved. 

Enter Frank, c. — Looks weary and tired out. 

Good morning, husband. , 

Frank. Good morning, Ruth, {aside) Xo word of reproach, this is 
more than I can bear. 

Ruth, {approaches him, lays her hand on his shoulder, looks into his face) 
Are you not well this morning, dear? 

Frank. Yes, dear Ruth, quite well. {he turns his face aside. 

Ruth. I wish you would make me a promise. 

Frank. Best of wives, I know what you wish me to promise, and I giv^ 
you my word that I'll not drink any more. 

Ruth, (puis her arms around his neck) Thanks, dear husband, and may 
God help you to keep your promise. 

Enter Mose c. — sees hoio matters are, retreats rapidly — Ruth releases Frank 

and calls. 

Mose ! Mose 1 



12 AT LAST. 

Enter Mose, 0. 

3fo.se. Here I is, missus. 

Jiuth. Did you do as I bid vou? 

Mose. Yea'm, and here am de effects ob de first fire. 

{gives the flattened bullet to Butk. 

Jtuth. Why, what is this ? 

Mose. Here am de facts ob de case : Dat's a bullet, dat is, aa' dat bullet 
tried ter find out which was de hardest, it or dis nigga's head. 

Ituth. What do you mean? 

Mose. Dis here's what I mean. I got dat ar little tool, an* I was 'zam' 
ing it, when de blamed fing went off an' hit me in de head. 

Jtuth. Did it hurt you ? 

3fose. Oh, no! it didn't hurt. I only seed sebenteen millin's shootin' 
stars, sky rockets, nigger chasers, nineteen fourth of Julys before de war, 
and one StPatrick'a day frowed in, all to-gedder at de same time. Oh, noi 
it nebber hurt ! 

Jitcth. But how did you come to get the bullet? 

Mose. 1 reached up ter see if de whole top ob my head was blowed off, 
and dar stuck de bullet flat up agin de skull. 

Jtuth. Your head must be hard, indeed. '» 

Mose. You kin jest bet yer, and 

Frank. What was it you were about to say, Mose ? 

Mose. I was about to say, if you wanted dese yere walls butted down, 
gimme de job, dat's all. 

Frank. Come Mose, let's go out and see those trunks we were lookiog at. 

Mose. All right, boss. 

Frank. By — by— Ruth, we'll be back in the course of an hour or so. 

Jtuth. Don't be gone long, Frank, it's so lonesome without you. 

Frank. No, I won't be gone long. 

.45 he gets to c. door turns and kisses his hand to her — Mose follows him — as 
he gets to the door. 

'Jtuth. Mose. , I. , 

Mose. Yes'm. {comes back. 

Jtuth. Bon't let him drink, Mose. 

Jfo.se. No'm,Iwon't, (aside) if he don't ax me. ; 

Jtidh. That's a good boy. here's something for you. {gives him money, 

Mose. Much obliged, ma'am. 

Frank, {outside) Mose! Mose ! 

3fo.se. Yes sah, I'se comin.' {runs out c. 

Jtuth. 1 fe&r— what? I don't know myself; but every time my husband 
leaves me, an indiscribable fear takes possesion of me; what shall I do ? 
I have it— I'll write to father ; I'll feel safe when he is beside me, I'll do it 
this very instant, {seats herself at table atid prepares to write. — scene closes^ 



SCENE F0VB.T1I.— Boy al street. 

Filter Frank and Mose, b. 

Frank. Want to smoke, Mose? 

Mose. Yes sah. 

Frank. Run down to that cigar store and get a couple of the best cigars 
they have. {hands Mose money. 

Mose. All right, boss. {runs off l. 

IVank. That's a cute nigger, puts me in mind ot one I used to own dur- 
ing the war ; if anybody knew how to keep his mouth shut and his eyea, 
open he did. 



AT LAST. U 

Enter Scranton, L. 

Scran. How goes it, old boy ? 

Frank. First rate, I thank you, and how is it with yourself? 

Scran. So, so ! feel kinder loose this m oruing, believe a good drink 

would set me all right though, have somethi ng ? 

Frank. I would, only I proinised my wife that I would not touch anoth- 
er drop. 

Scran. Bah, man, one drink won't hurt you, ao come on. 

Frank. 1 know it, but then I 

Scran. Oh, come on, take some soda. 

Frank. All right, I will. {they exit B. 

Enter Mose, L., smoking. 

Hose. "Whar de debbil is massa Frank done gone to? Don't see him no 
whar, bet a nickle he sent me off so he could go and get a drink. I'm 
bound to follow him. (exit b. 



SCENE FIFTH.— 2^6 Grape Vine as before.— Hans behir.dthe counter. 
Enter Frank and Scranton, R. 

Sans. How you vas, shentlemens ? 

Scran. Oh, first-rate — fix me up a whisky cock-tail. 

Frank. Give me soda. 

Scran. Put a stick in it Hans. 

Mans looks at Frank, he does not understand, Hans seems satisfied, and prO' 
ceeds to mix the drinks. 

Enter Morgan, & 

3for. "Well, well, how goes it fellows. 

Scran. Here, landlord, another cock-tail. 

Mor. Not for me. I want mine straight. 

Hans. All right. 
He places the two drinks, one before Frank and one bejore ifjfranton, then a 
black bottle and glass before Morgan, then three glasses of water. 
They clink glasses and ihen drink. 

Frank. Look here, Hans, I asked for soda. 

Hans. Yah, dot vas so, und your friend says, "put a stick in it," — you 
nefer says nothings, und now you vas growling. 

Scrav. Is it possible, old boy, you didn't understand me ? , 

Frank. Oh, it's all right. 

Mor. What do you say to a quiet game of cards. 

Scran. I'm agreed, 

Frank, {hesitatingly) Well, I'll play a couple of games. 
They seat themselves at table r. — Hans brings a pack of cards— 'Frank B. MoT' 
gan c. Scranton l. — Mose enters, looks round — goes up to table. 

Hans. See here, you black rascal, I don't can stand de fifteen command- 
ment. 

Frank. That's all right, Hans, he's my servant. 

Mose. {aside to Frank) See here massa Frank, better git out ob di8. 

Scran. What shall we play ? 

Frank. Euchre is my best hold. 

Scran. All right then, euchre it shall be. 

Mor. I'll be game keeper. 

Mose. {aside) An' I'll be de watcher. 



^* AT LAST. 

^rhJl^^T^^^ cocJ-<at7 Ugins to Ml on Frank-Scranton and Morgan ex- 
hn%TJ '''' /^""^ ^'f ' °^ ■^""" «"^ ^^^^^ hisjinger, Hans bringfa 
bottle of wme and glasses, places them on table-^Mose turns around and Ms 
ftZ'^'V '^'P'^^^'^l'ff^ off the tahle-Scranton jumps up and starts 
^L/r^:! r.-^"'^^-!, f"'^'; ""?^ ^^""'•^ /^i^i>^9^oZ-^cranfon stops-Hans 
comes behind him and knocks the pistol from his hand- Scranton starts at 
him again, Frank jumps up with a chair in his hand. 

^rank. The first one that touches that nigger, I'll brain him 
Mose. {grasps a chair and gets by Frank) Here we is, de bofe'ob us. 
Scran. Come, come, Frank, old bov, don't get mad. 

Mose. Whar's dot dutchman what hit me ? {tvms, sees Hans) Oh r dar 
you 18. (starts at Hans, who retreats, cries out -FoUce I Police V' scene clotel 

SCENE SIXTH.— i?oyaZ street as before. 
Enter Frank, Scranton and Morgan, r. they are very jolly-Frank especially. 
Scran. What do you say /rank, let's go up to my rooms ' 
Frank. All right — good enough. 

Scran. I say Morgan, go and get a box of cigars, will you ' 
Mor. I'm yours to command. 

inlown' ^^"^^ ^^^^^' ^"^ ^''^'' ^"^ ^^^^'' "^"''*'^* ^^ ^^^P' ^^® ^^^^ ^''g*™ 
Frank, {catches hold of Scranton) Oh, come on, if you're comine ♦ 
Scran. Easy, old boy, don't tear my clothes. ' 

Frank. Well, then, come on. 
Scran. Don't be so impatient. 
Frank. Let's sing. 
Scran. Ko. 
Frank. Why not? 

Scran. People will think we are tight. 
Frank. I don't care if they do, Fm going to sing— so here goes. 

{commences to sing— Scranton takes hold of him and takes him off, u 
Enter Mose and Wren, b. 
Wren. Wh^:^ is your master, Mose ? , 

Mose. He'sIRd dem two fellers, agin. 
Wren. I'm afraid he's in bad company. 

Mose. In bad company, he's in de wustest kind ob company. 
Wren. Hallo, who's that old gentlemen coming down the street ' 
W.T ^m^k" l^'^^W^' tell seeing as I has neber seed him afore ? 
Wren. 1 11 bet ten dollars he's from the country. 
Mose. Yoi^'s hit it dat time, massa Wren. 
Wren. I'm going to chin hiip. 
Mose. Better not. 
Wren. Wh;y ? 
Mose. See dat stick ? 
Wren. Yes. 

Mose. Well, look good at dat stick, dat's all I'se got ter say. 
Wren. Belieye I'Jl take the hint. ^ 

Enter Eli Perkins, R.—?iuge stick in one hand, carpet bag in the other. 

Wren.%'Lflo fof sfr"'" ' ^ ''''' '"^''^^ ^' '^'^^ ^^^^^ « gentleman 

Per. Kin you tell me whar my darter is ? 

Wren. If I knew her name, perhaps I could. 
bntn<;w^PnS m' ^^^^'^ sol her name is Ruth-Ruth Perkins that was, 
son. Montgomery that is, she married ole Judge Montgomery's 



AT LAST! tS 

Mose. An' his fust name am Frank. 

Per. You've struck it, young man. 

Mose. Den I'm de one kin show yer whar ahe am. 

Per. Kin you neow, sartin shure ? 

Wren. Yes, sir, he can, he is in the employ of Mr. Montgomery. 

Per. Du tell ! ^ ^ 5 / 

Mose. Come on Mister Perkins, dinner'll 

Per. Heow in the world did you know my name was Perkins? 

Mose. Yer tole me dat yer darter's name was Perkins, an' I kinder thort 
dat her daddy's name orter be de same — un'stan? 

Per. Neow, you is smart. 

Mose. Let's hurry, kase dinner am mighty nigh ready. 

Per. All right, come on. 

Mose. Here, gimme dat sarpet-kaek. 

{Mose takes carpet-bag, exit with Perkins L. 

TTren. I feel confident that Scranton is trying to injure young Montgom- 
ery, but what can I do? the law does not reach their cases— I'll watch, and 
leave no means untried to save him from these scoundrels. {exit Zj. 



SCENE SEVE'STH.— Scranton' s rooms as before. 
Enter Frank and Scranton, c. 

Scran. Well, old boy, wha,t do y.oQ think of mv bachelor apartments ? 

Prank. Why, I'm astonished. 

Scran. I thought you would be; take a seat. {Frank sits R. of table, 
Scranton opposite) Have a drink ? 

Frank, WaU, 1 don't care if I do. {Scranton pours liquor in glasses— they 
drink) That's prime old port. 

Scran. You can gamble hefvy on that. Talking about gambling, what 
do you say to a quiet game ? 

Frank. I'm agreeable, 

{Scranton takes a pack of cards, shuffles them, deals out hands, they pi ay 

Enter Morgan c, ivith cigars — he comes to table. 

Mor. Amusing yourselves, eh ? 

Scran. Yes, have a game? 

Mor. No, I do not care to play. 

Scran. Take a cigar, Frank. 

All three take cigars, they light and commence to smoke — Frank wins first 
game. He seeins elated. Scranton fills glasses again, they drink, play 
again, Frank vnns the second time. He is very much excited — they drink 
again. 

Frank. Say, Charlie, old boy, believe I could beat you playing poker. 

Scran. You think so? 

Frank, I do. 

Mor. Then play, 

Frank. IT. do it. 

Mor. How much ante ? 

Scran. Say one dollar. 

Frank. Good enough. 

{the liquor tells on him — Scranton gets another pack of cards. 

Scran, {starting to deal) Are you playing, Morgan ? 

Mor. Yes, I'll try one or two hands, if I don't win. 

Frank. Let 'em slide, Charlie. 

Scranton deals — Frank looks at his hand, lays it on table, rubs hishands 
— Morgan picks up his hand, looks at it, throics it down with disgust 
— Scranton picks his up, doesn't seem to like it, but still he plays. 



U AT LAST. 

Scran. Well, Frank, what is your hand worth? 

Frank. Fifty dollars. 

Scran. I see that, and go you one hundred better. 

Tfiey go on in this way till the pot reaches the sum of Jive hundred dollars — then 

Scran. Show your hand. {Frank shows, and wins — they take another 
drink. Same business a second time) Well, here goes for the last time, then 
we'll quit. 

Frank. All right. (Mose pokes his head in door c. 

Mose. {aside) Oh, ho ! dar you is. {he watches, 

Scranton deals out hands — Frank holds/our kings — Morgan throws his hand 
down loith a curse — Scranton holds a small hand, but reaches doion in his 
pocket and brings up four aces — Mose sees the movement, shakes his fist at 
Scranton — Frank and Scranton commence to bet, when the pot has reached 
the sum of one thousand dollars, Scranton calls him — Frank shows four 
kings and is about to rake in the pile, when Scranton shows four aces — and, 

Scran. Not so fast Mr. Montgomery. 

Mose. (Jumps Jorward) Not so fast Mr. Scranton. {he levels pistol at 
him — Montgomery attempts to get up, but staggers, he finally succeeds) I seed 
you pull dem four aces outer yer pocket, I did. 

Scranton jumps at Mose, who pulls trigger, the pistol snaps — Scranton 
knocks Mofie down — Frank pulls his pistol, it goes off accidentally, shoots 
Morgan^ he screams, throxos up his hands and falls — Frank is horrified, 
and com-pletely sobered — Mose jumps up, runs to Frank, lays his hand on 
hi.s arm, this arouses him, he gives one look at Morgan, and starts to run 
Scranton cries, ^'police — help.'' Just as Mose and Frank get to c. door, 
he shoots at them, Mose returns the fire — Scranton staggers — as he falls — 

QUICK CURTAIN. 



ACT III. 

SCENE FIRST.— Par/or at Battle House, as before. 

Enter Perkins, c, smoking a corn-cob pipe. 

Per. Darter tole me not ter smoke in these here rooms, but I don't see 
how that's a goin' tew hurt 'em; then she said it wan't aristocratic to smoke 
in here. Well, I'm a going tew dew it anyhow, fer I never enjoy my vict- 
uals unless I have a good smoke, and {looks round and places his hand to his 
mouth) a good drink of old Jamaica rum — I tell you what 

Enter Luth, c. 

Ruth. Ah, father dear. {Perkins hides his pipe, it burns his finders, he 
makes wry faces) You've been smoking. 

Per. No, I haint, darter. 

Ruth. But I smell the tobacco. 

Per. Oh, that comes from the street. 

Ruth. Have you seen Frank yet? 

Per. No, I have not ; where in the world is he? 

Ruth. I don't know, {dejectedly) Oh I I feel certain that man has ac- 
complished his ruin. He was out all night. 

Per. Yeow don't say so ? 

Ruth. Yes, he and Mose were together. 

Per. Well, I'll go and bunt him up. 

Ruth. I wish you would. 

Per. Yeow jest let the old man alone ; he knows a thing or two. 



AT LAST. 17 

Ruth. I hope you will find him. 

Per. I'm bound tew. ( exit c. 

Ruth. Where is my husband? I shudder to think what has befallen 
him — Oh, Frank, Frank, if you knew the misery that your conduct has 
caused me to endure, I am certain you would never break the promise you 
have made me — but you have a tempter. Ah 1 well did I know the man 
who pretended to be your friend — he is now having his revenge. Be still, 
fluttering heart— there is a way to save him, and that way must, and shall 
be found, if it should cost me my very life — for I will never 

Enter 3Iose, c, 

Mosc. Drink any more. 

Ruth, {turns, startled, and sees Mose) Where is your master f 

Mose. I dun no, missus. 

Ruth. You don't know? 

Mose. No, ma'am, no more an' you does. 

Ruth, {alarmed) Tell me, Mose, what has happened ? 

Mose. Dey'se dun bin a heaps ob tings happened. 

Ruth. Tell me quick, where is Frank ? 

Mosc, Well, I'll commence at de fust startin' pint, and den I'll get it 
straight. 

Ruth. Go on, go on. {aside) I am so frightened, I hardly know what 
to do. 

Mose. Well den, fust and foremost, to begin at de beginnin', der right 
place ter start, I shall proceed to unfold myself — unstan'? 

Ruth. Do go on ! 

Mose. Dat's what I'm a doin'. I'se a g^i'ine on. 

Ruth. Do tell me what has happened ? 

Mose. Gib me time ter think an' I will. 

Ruth, ^sits R. of table) I'm all patience. Proceed. 

Mose. I hasn't gut ter der perceedings yet. I'll get ter dem arter awhile. 
{Ruth waves her hand for him to go on) Well den, as I said before, ter com- 
mence at de beginnin'. You know when I left de hotel ? {Ruth bows her 
head) You does ? den de story am commenced 

Ruih. Mose ! Mose ! for God's sake tell me the worst, and 

Mose. I ain't got no worst ter tell yer. 

Ruth, {aside) I feel a dreadful presentiment of evil, and Mose is trying 
to prepare me for it — faithful fellow. 

Mosc. Den arter us had left de hotel, we went down de street — massa 

Frank axed me if I didn't want ter smoke, ob course I tole him yes. He 

• gibbed me some money an' tole me ter get two ob de bestest cigars I could 

find. I>en I went arter dem cigars, an' when I come back, massa Frank 

wasn't dar. 

R'dh. Where was he? 

Mose. Hold on, hold on ! I'll get dar presently, bimeby. As I said, he 
wasn't dar — I looked all round, couldn't see him nowhar — den here comes 
massa Wren 

Rvth. Who? 

Mose. massa Wren. 

Ruth. Who is he'? 

Mosc. He's one ob dem detectin' chaps. 

Ruth. Detecting chaps? 

Mosc. Yes ma'am, he catches thieves and de likes. 

Ruth. Yes, I see, he is a detective. 

Mose. Dat's it missus — you'se a cute un, you is— arter I seed massa 
Wren, I axed him whar massa /rank done went ter — he didn't know, but 
'spected he'd gone wid Mister Scranton, kase he'd seed him coming dat 
way. 

Ruth, {aside) It is as I thought — that man has prevailed upon him to 
drink again. 



18 AT LAST. 

3Iose. Jest as soon as I heard dat, I started for de fust bar room, kase I 
knowed dar's whar I'd find massa Frank — an' sure enuff dar he was play- 
ing keards wid Mister Scranton an' anuther villain — dey was tryin' ler get 
him drunk, so's ter make him lose his money, but I were too sharp for 'em. 

Jiiith. How did you prevent it? 

Mose. {laughs soffl)/) Massa Frank called for a bottle ob wine — an' I 
got up close ter der table, an' I went ter turn 'round, 1 hit de bottle wid 
my elbow and 

Huth. Knocked it off the table ? 

3Iose, Dar's whar you's right missus, (aside) Golly, she's a cute un. 
{aloud) De bottle hit de floor — an' dat bottle was defunct, played out, bust- 
ed all ter pieces — Mr. Scranton got mad, jumped up ter hit me — I pulled 
my persuader onto him, an' he kinder reconsidered de original movement 
— de dutch bar-keeper knocked de pistol outer my hand — au' Mister Scran- 
ton come at me ngain — innssa Frank jumped up wid a tihair in his hand, 
an'' said dat de fust man wat hit me was a gwine ter get hurt- 

Ruth. And was there a tight ? 

Mose. Xo ma'am, not dat time, de fightin', an' shootin', an' cuttin' cum 
in arterwards. 

Ruth, [lays her hand on her heart) Oh, heavens ! 

Mose. Soou's ma3«>a Frank jumped up, I made for de dutchman, an* he 
commenced to holler for d^r police, an' I run 

Ruth. Well, what next? 

Mose, De next ting, am meetin' de ole boss, an' fetchin' him here, an' — 

Ruth- I know all about that. Proceed. 

Mose. An' right here am where de proceedin's am comin' in. Here am 
whar dis nigga seed trials an' tribulations. 

Ruth. Mose do not keep me in suspense — what happened next ? 

Mose. I went ter look for massa Frank agin — didn't know more'n a fool 
whar ter look. I commenced ter think — a idea struck me — didn't hit me 
so hard as dat bullet did. 

Rtth. What was that idea ? 

Mose. De idea was, dat massa Frank has done gone wid dem chaps ter 
dar rooms, an' I were kirect. I found de place, an' dar dey was playin' 
keards — 1 seed massa Frank was tight. Den I seed Mister Scranton drop 
some ob his keerds, and take four from his pocket. Massa Frank had a 
good hand an' he bet five milyin dollars on it — dey showed der hands, and 
de Mister Scranton wanted der money — I tole massa Frank how it was. 
Mister Scranton come at me, an' I pulled on him — Massa Frank got out 
his pistol, an' it went off axidently an' shot de odder feller. Me an' massa 
Frank star ted.out, an' Mister Scranton drawed his pistol an' shot at mas- , 
sa 

Ruth, {jumps up excitedly) I knew it ! I knew it I Frank is shot — Oh; 
God in heaven, give me strength to bear this cross. 

{covers her face with her hands, and sinks into chair. 

Mose. Spec' you's a gittin' too fast, missus — massa Frank ain't hurt. 

Ruth, {runs to Mose, lays her hands on his arm) Not hurt, did you say ? 
Not hurt? 

3fo.se. No ma'am, he neber teched him. 

Ruth. Oh, joy, joy ! Heaven be praised, my husband is unharmed. 

Mose. Yes ma'am, but de odder feller ain't. 

Ruth. How ? 

Mose. Well, nuffiu much, only he didn't hab time ter do nufSn. 

Ruth. What do you mean ? 

Mose. I means dat as soon as he fired dat pistol at massa Frank, dis nig- 
ga's right hand went up — an' dat right hand had a pistol in it, an' some- 
how dat pistol shot dat feller, dat's all. 

Ruth. This is terrible. 

Mose. Yes, I should think it was fer dem two fellers, any how. 

Ruth. But where is Frank ? 



AT LAST! 19 

Mose. H**'!! be 'round here 'fore long. 

Ruth. Mose, you shall be handsomely rewarded for your fidelity to my 
husband. 

Mose, I nebber gibbea massa Frank any fi — fi— fi — what was dat you 
said missus? 

Ruth. I meant for the way you stood by your master, 

Mose. {very imjyressively) See here, missus Ruth, I ain't nuffin but a 
poor niggar. I knows I ain't much account, but when a white man stands 
by me like massa Frank did, I'm a gwine ter stand by him as long as dar's 
wool on de top ob my head, dat's de kiud ob box ob blaekin' I is. 

Enter Frank and Perkins c. Frank seems very much worn out— passes his 
hand across his forehead several timei — walks doivn stage — Ruth sees him. 

Ruth, {runs to him, puts her arm arour.d his neck) Oh, Frank ! Frank I 

Lays her head on his breast, sobs. Frank is terribly moved — raises her 
head, gently — kisses her forehead — disengages himself from her — drops on 
one knee. 

Frank. Listen Ruth, thou noblest of God's creatures, {raises his right 
hand to heaven) Oh, &od, with your help, and the help of my noble and 
sulFering wife, I swear never again to touch a drop ot this accursed liquor, 
in any manner, shape, or form. 

Ruth, {drops on her knees, beside him, lifts her eyes to heaven) Oh, heav- 
enly Father, I thank thee for this, give my husband strength to resist this 
perilous temptation. 

Per. Amen. 

Mose. De angel ob de house hab conquered. Glory hallelujah. 

Mose. Pekkins, 

B. Feank. Ruth. l. 

All kneeling. 

CURTAIN. 



To Oar CiDmomers 

Amateur companies frequently have trouble in procuring Plays well adapted to their 
want.s, frequently ordering perha{>s five dollars worth in single copies, before anything 
suitable can be found. All this can be done away with. Our catalogue embraces plays 
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quirments of their companies, there need be no trouble in this line, at least. If a tem- 
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thing wliich is very funny, we can suit them. In fact we have dramas, tarces, comedieg 
and tragedies, which tclU suit you. Enclose 15 cents per copy for as many sample coi)ies 
as you may need, and we guarantee to suit you, if you will state the size of your compa- 
ny, and whether best adapted to the serious or funny, (iive us a trial, at lea.st. 

A. D. AMES, Pub., Clyde, Ohle. 



AlflES' SrA]\I>AI£D Ar¥I> I?Ii:\OJR I>RAiTIA. $^ 

IC. THE SERF. A Tragedy, in five acts, by R. Talbot Esq.. 6 males, 3 f e- (^ 
male characters. Good parts tor 1st and 2nd Tragedian, and Tragic lady. The ^ 
character of Ossip is very powerfully drawn. The history of his early love — of rt) 
his marriage — the indignities he is made to suffer, and the death of his wife, is ^ 
highly wrought ; and his sarcastic levity and deep revenge are unfolded with a ^ 
terrible earnestness. Scene, apartments in castle. Time about 2 hours and a half. ^ 

17. HINTS ON ELOCUTION AND HOW TO BECOME AN ACTOR. This ^ 
valuable work has just been published, and contains valuable instructions that 
amateur actors, and every one that ever expect to make a favorable appearance 
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treats on every subject that is necessary lo be acquired in order to become a 
good and pleasing actor. 

18. THE POACHER'S DOOM. A Drama in 3 acts, curtaiTed and arranged 
by A. I>. Auie.^, 8 male, and 3 female charat-cers, A tlirilliug drama, _al ways a 
favorite. L'_-ading man, villian, two comedies, old man, leading lady", comedy 
lady, etc. Co.-tiiuies modern. The situations in this play, are most excellent. 
Time of perfoimance, 1 huurand a half. 

19. DID I DREAM IT^ A Farce in one act by J. P. Wooler. 4 male, 3 fe- 
male characters. Scene, drawing room. The question "Did I Dream it" is what 
the farce is founded upon. Very strange things happen, and a nice little love 
scrape helps to color the plot. A good piece. Costumes simple. Time of per- 
formance 45 minutes. 

20. A TICKET OF LEA VE. A Farce in one act, by AVatts Phillips, 3 male, 
2 female characters. A play written by this author is sufficient, guarantee of 
itsexceiltnce. Scene, a sitting room, plain furniturv^. Costumes modern. Time 
of perforuianc?, 35 minutes. This is an excellent farce. 

21. A ROMANTIC ATTACHMENT. A Comeuietta in one act, by Arthur 
Wood, 3 male, 3 female characters. A most excellent little play, well adapted 
for school exhibitions, lodges, araatuers, etc. The scenery is simple, being a 
plain room, is always a favorite with every company which plays it. Time of 
performance, 35 minutes. 

22. CAPTAIN SMITH. A Farce in one act, by E. Berrie, 3 male, 3 female 
characters. Tnis excellent little farce is equally well adapted for school exhi- 
bitions, etc., as No. 21. The dialogue is sparkling, not a dull speech from be- 
ginning to end. The plot simple, the piece easily performed. Scene, a plain 
room. Costumes modern. Time of performance, 3U minutes. 

23. MY HEARTS IN THE HIGHLANDS. A Farce in one act, by AVil- 
liam Brougli and Andrew Halliday, 4 male, 3 female characters. Sc^ne, exte- 
rior of house infthe Highlands. Costumes, simple Highland. This farce is eas- 
ily produced and very elfective is full of fun, caused by the mishaps of twochar- 
acters, who go from the city to the country, and do not know a pig from a roe- 
buck, nor a turkey from an ostrich. Time of performance, 25 minutes. 

24. HANDY AND i'. An Ethiopean Farce in one act, 2 male characters. 
Scene, a kitchen. Costumes, exagerated and comic. The difficulties in procu- 
ring a good and suitable servant are most ludicrously set forth in this fa^ce. 
Time of "performance, 20 minutes. 

25. SPORT WITH A SPORTSMAN. An Ethiopean Farce, in one act, 2 
male characters. Costumes, exagerated sportsman's dress, and boyish dress. 
Scene, a wood. Time of representation, 20 minutes. A tip top negro farce. 

20. THE HUNTER OF THE ALPS. A Drama in one act, by William 
Dimond, 9 male, 4 female characters. Scene in-door and forest. Costumes, 
Swiss, llosalvi. the hunter of the Alps leaves his home to procure provisions to 
keep his wife and children from starving, meets Felix, a lord, and demands, 
and finally implores of him money. Felix moved with compassion gives him 
money, and goes with him to his hut, and there discovers they are brothers. 
There is some tine comedy in it. The story is beautifully told. Time of per- 
formance 1 hour. 

27. FETTER LANE TO GRAVESEND. An Ethiopean Farce in one act, 
2 male characters. Scene, plain room. Costume, exagerated and comic. The 
two characters, Ike and Hystericks are very funny, and will keep an audience 
ia roars of laughter. Short, easily produced, and a tip topiarce. Time of per- 
formance 15 minutes. 




' W ^-W '^ \i/ 0-^=^ U^ L^^ O WsJ^^ \J^ ^i 

AiTI£!>$' i^XAIWARD A:\1> IflOiOR 1>KAIVIA. 



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28. THJRJY-THREE NEXT BIRTHDAY. A Faroe in one act, bf John 
Madison Morton, 4 male, 2 female characters. Scene, outside of hotel, easily 
arranged. Costumes to suit the characters. This farce should be read to be 
appreciated, and is a good one as are ail of Madison Morton's plays. The com- 
edy characters are excellent. Time of performance, 35 minutes. 

29. THE PAI.\TER 01 GHENT. A Play in one act, by Douglass Jerrold, 
5 male, 2 female characters. Scene in Ghent. Costumes of the country and 
period. This is a beautiful play of the tragic order. The character of the "Paint- 
er of Ghent." is one of grandeur and tine language. He becomes insane at the 
loss of children, and being a painter, paints their portraits from memory, A 

aS daughter whom he supposes dead, returns to him, and he recovers. A grand 

( ^ pley. Time of performance, 1 liour. 

^ .30. A HA Y WELL SPENT. A Farce in one act, by John Oxenford, 7 male, 

5 female characters. Scenery simple. Costumes, modern. Two clerks in th« 
absence of their "boss" conclude to shut up shop, and have a spree. They get 
into several scrapes with the females, have numerous hair breadth escapes, and 
have a terrible time generally. Very amusing. Time of performance, 40 
minutes. » 

31. A PET OF THE PUBLIC. A Fa*ce In one act, by Edward Sterling, 
/♦^ 4 male, 2 female characters. Scene, parlor. Costumes, modern. In this farce, 
^ the lady assumes four distinct characters, either of which is good. For an act- 
j ^ ress of versiiitility, it is a splendid piece, and amatuers can also prodtice it with- 
^ ^ out troubL It can either be used for a principal piece, or an afterpiece. Time 
^ ^ of perlVnj )oe, 50 minutes. 

^ 32. Ml VIFE'S RELATIONS. A Comedietta, in one act, by Walter Gor- 

j ^ don, 4 mal. i female characters. Scene, plain apartments. Costumes, modern. 
^ A pleasii:^ little piece well suited to amatuers, school exhibitions, etc. A iei- 
(P low marries, her relatives comes to see her, are much more numerous than he has 
an idea of. The denoumeutis funny. Time of performance, 45 minutes. 

33. ON THE SLY. A Farce in one act, by John Madison Morton, 3 male, 
2 female characters. Scene, plain apartment. Costumes, modern. Husbanas, 

^ don't never fall in love with yotir wive's dress makers — never squander your 
money foolishly, never do anything "on the sly," for your wives will bestire to 
find it out. This farce explains it all. Time of performance 45 minutes. 

34. THE MISTLETOE BOUGH. A Melo Drama in two acts, by Charles 
(P Somerset, 7 male, 3 female characters. Scene, castle, chamber and wood._ Cos- 
(|3) tunic!?, doublets, trunks, etc. A most excellent Melo-Drama. Plenty of blood 
(1) and thunder, with enough jolly, rollicking fun to nicely balance it. A great 

favorite with amatuers. Time of performance 1 hour and 30 minutes. 

35. HO]V STOUT YOU RE GETTING. A Farce in one act, by John Mad- 
ison Morton, 5 male, 2 female characters. Costumes, modern. Scene, a plain 
room. This is another of Morton's excellent farces. The comedy characters in 
it are nicely drawn, and it always is a favorite. Easily produced." Time of 
performance, 35 minutes. 

cfe 36. THE iVILLER OF HERWENT WATER. A Drama in three acts, by 

(() Edward Fitzl)all, 5 male, 2 female characters. Costumes, modern. Scenery, 
(. ]) easily arrana:ed. This is a touching little domestic drama, abounding in line 
i) speeches, and appeals to the better feelings of one's nature. The "Miller" is an 
^ excellent old man. Two comedy characters keep the audience in good humor. 
Time of ])erformance, 1 hour and 30 minutes. 
37. N02 SO BAH AFTER ALL. A Comedy, In 3 acts, by Wybert Reeve 

6 male, 5 female characters. Costumes, modern. Scenery, simple and easily ar- 
ranged. Everv character in this comedy is in itself a leading character, and 
everyone very funny. Probably there is not a play in the language in which 
every character is sofunny as this. Time of performance, 1 hour 40 minutes. 

3S. THE BEWITCHED CLOSET. A Sketch in one act, by Uattie Lena 
Lambla, 5 male, 2 female characters. Scene, Parson Grime's kitchen. Costumes 
modern. A lover goes to see his sweetheart, hides in a closet. Old man ap- 
pears on the scene, thinks the closet bewitched. Thoy upset it. Old man is 
frightened— runs away. Everything right etc. Time of performance, 15 minutes. 
39. A LIFE'S REVENGE. A Drama in 3 acts, by Wm. E. Suter, 7 males, 
5 female characters. Costumes, French, period 1(561. Scenery, palace, gardens, 
^ prison. Can be arranged bv amatuers but is a heavy piece. A fine leading nuin, 
]') heavy man, a glorious comedy, etc. Also leading lady, juvenile lady, comedy 
^ ^ lady, etc. This drama was a favorite with Harold Forsberg. Time of perform- 
'^ ance, 2 hours and 15 minutes. 



I 



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AMES' SXAIVDARO AI\» JVIIIVOR I>RAI«IA. 

40. THAT MYSTERIOUS BUNDLE. A Farce in one act, by Hattie Lena 
Lambla. 2 male, 2 female characters. Costumes, modern. Scenery, a plain 
room. A Variety peice, yet can be performed by Amatuers, etc. A Mysterious 

bundle figures in this farce, which contains a . Time of performance 20 

minutes. ' 

^41. WON AT LAST. A Comedy Drama in 3 acts, by Wvbert Keeve, 7 male, 
o female characters. Costumes modern. Scenery, drawing-room, street and 
office. Every character is good . Jennie Hight starred on the character of "Con- 
stance" in this play. Amatuers can produce it. Time of performance, 1 hour 
45 minutes. 

42 DOMESTIC FELICITY. A Farce in one act, bv Hattie Lena Lambla, 1 
male, 1 female character. Costumes modern. Scene, a dining room. The name 
fully describes the piece. Very funny. Time of performance, fifteen minutes. 

43. ARRAH DE BA UGH. A Drama in 5 acts, by F. C. Kinnaman, 7 male, 
6 female characters. Costumes modern. Scenes, exteriors and interiors. A 
most exquisite love story in a play, abounding in scenes o* great beauty. The 
depth of woman's love is beautifully shown. Time of performance about two 
hours. 

44. OBEDIENCE, OR TOO MINDFUL BY FAR. A Comedietta in one 
act, by Hattie Lena Lambla, 1 male, 2 female characters. Costumes modern. 
Scenes, plain room and bed room. An old fellow who thinks he is very sick be- 
comes vely peevish and particular. A plot is formed to break him of his fooiish- 
nesa. A^ery amusing. Time of performance twenty minutes. 

45. ROCK ALLEN THE ORPHAN, OR LOST AND FOUND. A Comedy 
Drama in one act, by W. Henri Wilkins, 5 male, 3 female characters. Costumes 
modern. Scenes interiors. Time, during the Rebellion. This play represents 
the real "deown east" characters to perfection. An old man and woman are al- 
ways quarreling, and their difficulties are very amusing. Time of performance 
one hour and twenty minutes. 

46. MAN AND WIFE. A Drama in five acts, by H. A. Webber, 12 male, 7 
female characters. Costumes modern. Scenerv exteriors and interiors. This 
drama is one of intense interest and is a faithful dramatization of Wilkie Collins' 
story of the same name. This is said by competant critics to be the best dram- 
atization published, and it should be in the hands of every dramatic company 
in the country. It has become a great favorite. 

47. IN THE WRONG BOX. An Ethiopean Farce in one act, by M. A. D. 
Chfton, 3 male characters. Costumes, peddler's and darkev's dilapidated dress. 
Scene, a wood. Characters repiesen ted, a darkey, an Irishman and a 'Yankee 
Time of performance twenty minutes. 

48. SCHNAPPS. A Dutch Farce in one act, M. A. D. Clifton, 1 male, 1 fe- 
male character. Costumes, burlesque German. Scene, a plain room. A neat 
little piece for two Dutch players, introducing sifags and dances. Time of per- 
formance, 15 to 30 minutes, at the pleasure of the performers 

49. DER TWO SURPRISES. A Dutch Farce in one act, bv M. A. D. Clifton, 

I male, 1 temale character. Costumes, peasant's, and old man's and old woman's 
dress. Scene, a kitchen. A very neat little sketch, introducing songs and 
dances. Time of performance, about twenty minutes. 

50. HA3ILET. A Tragedy in five acts, by Shakespeare, 15 male, 3 female 
characters. Probably no other play by the immortal Shakespeare is produced 
as frequently as this one. It needs no description. Time of performance about 
two hours and thirty minutes. 

51. RESCUED. A Temperance Drama in two acts, by Clayton H. Gilbert, 5 
male, 3 female characters. This play visibly depicts the dangerous consequen- 
ces ot falling into bad company, the follies of the intoxicating bowl, and shows 
that even the pure love of a noble girl will be sacrificed to the accursed appetite. 
Ihe solemn scenes are balanced by the funny portions, and all in all the play 
is a grand success. Costumes modern. Scenes, interiors some neatly and some 
handsomely furnished. Time of performance one hour. ' 

52. HENRY GRANDEN. A Drama in three acts, bv Frank Lester Bingham, 

II male, 8 female characters. This drama is sensational in a high degree, 
>J abounding in thrilling scenes among the Indians, hair breadth escapes, etc. It 
^ Bhould be purchased by every dramatic company that wish something to suit the 
9 public. Costumes not hard to arrange. Time of performance two hours. ^ 



A9IES' STA^fOARD A:^'1> MOfOR I>KA]»IA. 



(^ 



53. OUT IN THE STREETS. A Temperance Drama in three acts, by S. N. 
Ck)ok, 6 male, 4 female characters. Wherever this drama has been produced it 
has been received with the greatest entViusiasm. Listeners have been melted to 
tears at the troubles of Mrs. Bradford, and in the next scene been convulsed 
with laughter at the drolleries of North Carolina Pete. Costumes modern. 
Scenes, interiors. Time of performance, about one hour. 

54. THE TWO T. J's. A Farce in one act, by Martin Beecher, 4 male, 2 fe- 
male characters. Costumes of the day ; scene an 'ordinary room. This is a cap- 
ital farce and has two male characters excellent for light and low comedians. 
Good parts also for old and young lady. Time of performance thirty minutes. 

5a. SOMEBODTS NOBODY. A Farce in one act and one scene, by C. A. 
Maltoy, 3 male, 2 female characters. Scene, interior. Easily arranged :n any 
parlor" or hall, as it can be produced without scenery. Costumes modern with 
the exception of Dick Mizzle's which is hostler's and afterwards extravagant 
fashionable. This most laughable farce was first produced at the Drury Lane 
Theater, London, where it had a run of one hundred and fifty _ consecutive 
nights. It is all comic, and has excellont parts for old man, walking gent, low 
comedy, walking lady and chambermaid. Time of performance, 30 minutes. 

56. WOOING VNDER DIFFICULTIES. A Farce in one act and one scene, 
bv John T. Douglass, 4 male, 3 female characters. Scene, handsomely furnished 
apartment. Costumes of the day. Probably no poor fellow ever wooed under 
more distressing difficulties than the one in this farce. It all comes about 
through a serious misunderstanding. A crusty old man, and a quarrelsome and 
very important servant go to make the farce extremely funny. Time of per- 
formance thirty minutes. 

57. PADDY 31ILES' BOY. An Irish Farce in one act, by James Pilgrim, 5 
male, 2 femiale characters. Scenes, exteriors and interiors. Costumes eccentric, 
and Irish for Paddy. Probably there is not an Irish farce published so often 
presented as this one, but it is always a favorite and is always received with 
great applause. Time of performance 35 minutes. 

55. WRECKED. A Temperance play in two acts, by A. D. Ames, 9 male, 3 fe- 
male characters. Scenes, drawing rooni, saloon, street and jail. Costumes mod- 
ern. The lessons learned in this drama are most excellent. The language is 
pure, containing nothing to ofiend the most refined ear. From the comtortabie 
home and pleasant fireside, it follows the downward course of the drunkard to 
the end. All this is followed bv counterfeiting, the death of the faithful wife 
caused bv a blow from the hand of a drunken husband, and finally the death oi 
the drunkard in the madhouse. Tirne of performance about one hour. 

59. SAVED. A Temperance Skeft-h in two acts, by Edwin Tardy, 2 male, 3 
female characters. Scenes, street and plain room. Kicely adapted to amaiuers, 
Time of performance twenty minutes. 

60. DRIVEN TO THE WALL, OR TRUE TO THE LAST. A Play in four 
acts, bv A. D. Ames. 10>male and 3 female characters. For beauty of dialogue, 
startling situations, depths of feeling there is none on the American Stage supe- 
rior to'this one. The plot is an exceedintily deep one, and the interest begins 
with the first speech, and does not for a moment cease until the curtain falls on 
the last scene of the last act. The cast is small and the costumes easily arranged. 
It can be played on any staa;p. It has parts for Leading Emotional Lady, Juve- 
nile Lady, Leading Man, Villain, Character Old Man. First Old Man, Comedy, etc. 

61. NOT AS DEAF AS HE SEILVS. An Ethiopean Farce in one act. 2 
male characters. Scene, a plain room. Costumes exngerated and comic. Ex- 
tremely ridiculous and funny. Time of performance 15 minutes. 

62. TEN NIGHTS IN A BAR-ROOM. A Temperance Play In five art', by 
Wm. "W. Pratt, from T. S. Arther's novel of the same name— 7 male, 3 female 
characters. This edition is rewritten, containing many new points, and is the 
best ever presented to the public. Nothing need be said in its praise, as it is too 
well known. It is often played, and always successfully. Time of performance 
about two hours. 

63. THREE GLASSES A DA Y, Or, The Broken Home. A grand Moral and 
Temperance Drama, in two acts, by W. Henri Wilkins, 4 male, 2 female charact- 
ers. Ca'sturaes modern. Scenes, interiors. First-class characters for Leading 
Man, Villain, a genuine down-east Yankee, which is also very funny ; also Lead- 
ing Lad v, and a tip-top Comedv Lady. If a company wishes something with an 
excellent moral, at the same time running over with genuine humor, buy tlm. 
Time of performance about one hour and thirty minutes. 



^ AltlES' SXa:^I>AR» ANO ]fIII\OJR I>RAI?IA. 



Q 



characters. This intensely funny afterpiece can be produced by any company. 
Tlie characters are all first cla.ss, and the "colored individual" is especially fun- 
Costumes, simple. Time of performance, about 



6 male, 



ny. Scene, a plain room, 
twenty minutes. 

69. MOTHER'S FOOL. A Farce in one act, bv W. Henri Wilkins. 
1 female character. Like all of Mr. Wilkins' plays this is first class. The 
characters are all well drawn, it is very amusing, and proves an immense suc- 
cess wherever produced. Scene, a simple room. Costumes modern. lime of 
performance, thirtv minutes. 

70 WHICH WILL HE MARE Y. A Farce in one act, by Thornas Eg^ton 
Wiiks. 2 male, 8 female characters. Scene, a street. Costumes modern, /-asi- 
Iv arranged on anv statre. A barber hears that one of eight women has fallen 
heir to some monev, not knowing which, he makes love to them all. 1 his, to- 
gether with the revenge the females have upon him, will prove laughable enough 
to suit anv one. Time of representation, thirty minutes. 

71 THE REWARD OF CRUIE. OR THE LOVE OF GOLD. A Drama of 
Vermont, in two acts, bv W. Henri Wilkins. .5 male, 3 female characters. A 
drama from the pen of this author is sufficient guarantee of ;t.'>^ excellence. 
Characters for old man, 1st and 2d heavy men, juvenile. A splendid lanJcee, 
lively enough to suit any one. Old woman, juvenile woman, and comedy. 
Costumes modern. Scene, plain rooms and street. Time of performance, one 
hour and thirty minutes. Easily placed upon the stage, and a great favorite 
with araatuers. 

T THE DETJCE IS IN HIM. A Farce in one act, by R. J. Raymond. 5 
maie, 1 female character. Scene, a plain room. Costumes modern. This farce 
is easily arranged, and can be produced on any stage, in fact, in a parlor, ihe 
pranks of the doctor's boy will keep an audience in roars of laughter, every line 
being full of fun. Time of p'erformance, thirty minutes. Order this, and you 
will be pleased. 

73 ATL 4.ST. A Temperance Drama in three acts, by G. S. Vautrot. 7 male 
1 female character. This is one of the most eflective temperance plays ever pub- 
lished. Good characters for leading man, 1st and 2d villain, a detective, old 
man, a Yankee, and a capital negro, also leading lady. The temptations of city 
life are faithfully depicted, the eftects of gambling, strong driuk, etc. Every 
companv that orders it will produce it. Costumes modern, bcene, Mobile, 
Time of "performance, one hour and thirty minutes. 

74 HOW TO TAME YOUR MOTHER-IN-LAW. A Farce in one act, by 
Henry J. Byron. 4 male, 2 female characters. Scene, parlor, supposed to be in 
the rear of a grocers shop. 



Costumes modern. Whiffles the proprietor of the 



grocerv, has a mother-in-law who is always interfering witii his business. Vari- 
ous expedients are resorted to to cure her-a mutual friend is called in. who, by 
the aid of various disguises frightens the old lady nearly to death, finally Whit- 
fies gets on a "ge-lorious drunk," and at last triumphs. A perfect success. 
Time of performance, thirty-five minutes. 



64. THAT BOY SAM. An Ethiopoan Farce in one act, by F. L. Cutler. 3 
male, 1 female character. Scene, a plain rocm and common furniture. Cos- 
tumes, comic, to suit the characters. Very funny, and eftectiially gives the 
troubles of a ".colored gal" in trying to have a beau, and the pranks of that boy ^ 
Sam." Time of performance tw'enty minutes. 

65. AN UNWELCOME RETIRN. A Comic Interlude, in one act, by Geo. 
A. Munson. 3 male, 1 female character. Scene, a dining room. Costumes, 
modern. Companies will find this a very amusing piece, two negroes being very 
funny— enough so to keep an audience in the best of humor. Time of perform- ^ 
^nce, twenty minutes. 

66. HANS, THE DUTCH J. P. A Dutch Farce in one act, by F. L. Cutler, 
3 male, 1 female character. An exceedingly funny piece. Hans figures as a 
Justice in the absence of his master, and his exploits are extremely ludncous. 
Costumes modern. Scene, plain room. Time of performance.twenty minutes. 

67. THE FALSE FRIEND. A Drama in two acts, by Geo. S. Vautrot. 6 
male, 1 female character. Simple scenery and costumes. First class characters 
for leading man, old man, villain, a rollicking Irishman, etc. also a good lead- 
ing ladv. This drama is one of thrilling interest, and dramatic companies wiU 
invariably be pleased with it. Time of periormance, one hour ana forty-five 
minutes. 

THE SHAM PROFESSOR. A Farce in one act, by F. L. Cutler. 4 male 



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2Z .fOiJX2C 'o 0ZQnct:Q-0Qt)QX.Q'0Q'0Q'0Qt)^0CiJ'COL)u'0.0-Q ^ 

n. r//£; 5^/2K A Tragedy, in five acts, by R. Talbot Esq.. 6 males, 3 fe- (*) 
III il ; c uiraoturs. Good purrs lor 1st and 2nd Trajjediau, and Trao'ic i.idv. Tlie (R 
CiiaraoL^r of O.ssip is v^^ry powerfiiliy drawn. Tlie liistory of liis c:irl / love— of ^ 
his marriage— the indignities he is made to suff^ir, and the death of liis wife, is !t 
highly wrought; and his sarcastic levity and de>;p rjveiige are unfold k1 with a ^ 
terrible earnestness. Scene, apartments in castle. Timeabout 2 lioarsand a lialf. |i: 

17. HINTSONELOCUTIUN AND HOW '10 BECOME Ay ACT(m. This ^i 
valuable work has just been published, and contains valu.iblj insaucaoii-! that 
amateur actors, and every one that ever expect to make a favorable appearance 
in public, cannot do wiiiiout it. It teaches you how to become a g..)d and ef- 
ficient reader, reciter, debater, a good actor, how to hold an audience silent, and 
treats o.i every subject that is necessary to be acquired in order to become a 
good and pleasing actor. 

18. THE POACHER'S DOOM. A Drama in 3 acts, curtailed and arranged 
by A. D. Ames, 8 male, and 3 female characters. A thrilling drama, alwavs a 
favorite. Leading man, villian, two comedies, old man, leading lad v, com -dy 
hid y, etc. Costumes modern. The .situations in this play, are mojil'exeellonr. 
Time of performance, 1 hour and a half. 

19. DID I DREAM ITf A Farce in one act by J. P. Wooler. 4 male, :i fe- 
male ciiaracters. Scene, drawing room. The question "Did I Dream it ' i>! wiiat 
tne farce is founded upon. Very strange things happen, and a uict- little love 
scrape helps to color the plot. A good piece. Costumes simple. Tim,; of pur- 
forinance 45 minutes. 

20. A TICKET OF LhA VE. A Farce in one act, by Watts Phillii) -, ;J m ile, 
2 female characters. A play written by this author is sutficient gu uaiueo of 
its excellence. Scene, a sitting room, plain furniture. Costumes modern. Tinie 
of performance, *5 minutes. This is an excellent farce. 

-n. A ROMANTIC ATTACHMENT. A Comeaietta in one act, by Arthur 
Wood, 3 mile, o female characters. A most excellent little play, well .idapted 
for school exhibitions, lodges, amatuers, etc. The scenery is simple, being a 
pLiiii ro!im, is aluays a favorite with every company which plays it. TiuK- of 
porformaii e, 33 iniiune^. 

•11. (.'Al'TAIN SMITH. A Farce in one act, by F. B;rrie, 3 male, 3 female 
characters. Tiiis excellent little farce is equally well adapted for sciiool exhi- 
bi;iM:i , I'tc, as No. "21. The dialogue is >parKi;ng, n n a dull SMBecli fioiii be- 
ginnlii,; to end. The |»lot simple, the i»icci- rasily jiei I'lnad. Sjimk-, a plain 
ro..Mi. t;.istiimt!s modt-rn. Time of peiformanci', 3u mi lUtcs. 

2.5. 1/) lliCARTS IN THE HiGJfLANDS. .V Farce in one act, by Wil- 
liam Bron ill and Andrcrt llalliday, 4 iiial ', 3 female i:hara<teis. S<rne', exte- 
rior of house in i,i ■ lligiilaiuh. Custumes, simple Uighland. This faire i> eas- 
ily pnuluced and very Hb.tive is full of fun, caused by the mitihap> «j1 iwm liar- 
act»•r.■^, who go from the city to the country, and do not know a |)ig from a im- 
buck, iiur a lurkey fro.u an ostrich. Time of performance, 25 minute-. 

24. IIANI>Y .iNI)\. An Fthiopean Farce in one act, 2 male riiarat luis. 
.Scene, a kitchen, t'ostumes, exagerated and comic. The ditttculiii> in pr.M-u- 
rln^ a gtind and suitable servant are most ludicrously set fori li in i.iis i.nif. 
Time of performance, 20 minutes. 

25. SPORT WITJl A SPORTSMAN. An Fthiopean Farce, in mie act, 2 
male characters (.'ostumes, exagerated si)ortsmaii's dress, and bi)> i>h dress. 
Scene, a wood. T..iij of ivpieseuta.i.jn, 20 minutes. A tip top negm i irce. 

2i). THE HUNTER OF THE ALPS. A Drama in one act, b> William 
Dimond, 1) male, 4 female characters. Scene in-door and forest, lost ume-i, 
.Swiss, llosalvi, the hunter of the Alps leaves his home to procure pinvi>i. .ns to 
keep his wife and children from starving, meets Felix, a lord, and d inaiids, 
anil finally implores of him money. Felix moved with coiiipassion ^lves him 
money and gov-s with him to his hut, atid there discovers they ari' l>rotliurs, 
Tneie is .some tine comedy in it. The story is beautifully told.Timi' of |»er- 
fonnance 1 hour. 

27. FETTER L.4NE TO GRAVESEND. An Fthiopean Faroe Hi om act, 
2 male cliaracters. Scene, plain room. Costume, exagerated and comic, l.ie 
two characters, Ike and Hystericks are very funny, and will ki-ep an audience 
in roars of iaughter. Short', easily produced, and a tip top farce. Time of per- 
form nice 15 minutes. 



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A. D. AMES, PUBLISHER, CLYDE, 0. 



OUR BUSIKESS-WHAT WE DO. 

TLA rS. We sell everything in the line of dramas and farces, and call 
th • utientiou of our iiuinerous |);itrons to our own li?t. We think it em- 
braces j>lHy which will suit either professional or amateur companies. If 
howevtr you need %> mething, published elsewhere, do not hesitate to send 
us your or.Urs — our slock is very large, awd we fill promptly.— Stocks of 
every publisher on hand. 

LETI'EEH OF IN QUIBT answered promptly, and we solicitcorrespond- 
eiice. if tne business upon which you write concerns you alone, enclose a 
3 ceni. stfiiiip for reply. Anutteurs who are puzzled upon any questions 
relative to the stage will be answered explicitly, and to the best of our abil- 
ity. 

'manuscript PLAYS. Parties who have Mss. to dispose of should 
write to us. We will publish whatever may be meritorious, on terms which 
will be SMtisfactory. 

SHEET MUSIC. Orders for sheet music, or music books will be re- 
ceived and filleil as promptly as possible. 

CJ 7Mi/0 6rC/-B.S' will be sent free to any address. Send a postal card, 
with your ad'lress, and the catalogue will be sent by the next mail. 

BOW 70 (fRDER. It would perhaps seem to every one that any di- 
rections as to 'how to order' plays was entirely superfluous; but not so. 
We have many instances, and remember to have been severely censured by 
parties, souie <i whom tailed to sign their name to their ordor, or failed to 
write the state, etc. In the first place, begin your onler with the name ol 
your post oihce, county and state. If you order from our list, it is not, nec- 
essary to desii;:nate, <jnly by giving the name of the pli^y ; but ii' from the 
lists of other pnblisher!^, state the publishers name, if you know it. Do 
not write your letters of inquiry on the same sheet with your ordt-rs, and 
niake the order a/wni/s i\ii brief as possible. When comple'e<i do 710I fnil to 
■sif/nj/our vame veri/ plaivlij.. Attention to these rules will Misure tiie filling 
of vour orders, by return mail. Postage stamp" of the denomination of 1, 
2 aiid 3 cents, will be taken in any amount less than $8.0i). 

PLAYS TO SUIT COMPANIES. Amateur com]>anies frequently have 
trouble ill procuring Plays well adujtted to their wants, lre(pienily or-iering 
perhaps tive dollar's worth in single cojties, before anything sui a oh- can 
l)e found. All this can be done a way with. Our c italogue emhrm-es play^ 
suitable for any and all companies, andif our friends will write to us.state- 
ing the refjuire'iuents of their companies, there need be n'» trouble, in this 
line at least, if a temperance society wants plays, we have something for 
them. If a company wants something wriich is very funny, we can suit 
them. In f -ct, we have dramas, farces, tragedies and eoniedies whicti will 
suit you. Enclose 15 cents pfer coj)y, for as many copies ms you may need, 
and we guarantee to suit you, if y<»u will state the size of your i-ompany, 
and whelli r l)est adoj>fe(i to the serious or funny. (tIvc us a trial at least. 

MAGNESIUM TABLEA U LIGHTS. There is scarcely a person who 
has not he<*n annoyed by the smoking of colored tires, which are so often 
used on tabh-aux, and whole scenes in dramas have I een ruined by the 
coughing ami noise always attendant on their use. We earnestly recojii- 
niemi the use of the Magnesium lights. They can he ignited witli acommon 
match, and burn with wonderful brilliancy. Thei-e is no danger in their use; 
they make no smoke and are cheap. Price, 25 cents each, by mail, post 
]>aid. Those who do not know how to burn them, will be instructed by 
addressing the putdisher. 



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